CONTENTS
Page Unit 3
Contents, Art Materials
4 5 6 9
What Parents Want to Know: Book and Video Content, Scheduling What Students Want to Know: Original Photo References
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Primary Colors
Luncheon of the Boating Party by Renoir
12 15 18 20 24 27 30 33 36 39 43 45 48 51 54 57 60 61 64
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Mixing Colors
Red Deer II by Marc, The Blue Horseman by Kandinsky
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Analogous Colors
Skiffs by Caillebotte , The Japanese Bridge by Monet
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Neutral Colors
The Cardplayers by Cezanne
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Tint Colors
The Lovers by Picasso
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Shade Colors
A View near Volterra by Corot
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Monochrome Colors
Portrait of Adele Bloch-Bauer by Klimt
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Complementary Colors
The Blue Boy by Gainsborough
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Tonal Range
Tiger, Tiger and Snake by Delacroix
Evaluation Sheet
Objectives
Bibliography
ART MATERIALS drawing pencil
ADDITIONAL MATERIALS water container (can or cup)
watercolors, Cotman Sketcher’s Pocket Set or Palette Pocket Set by Winsor & Newton watercolor pads, 36 sheets tracing paper pad masking fluid (drawing gum) brush, #8 round brush, ½” mop or wash brush, ½” flat artist tape
paper towels brush holder
worn brushes for applying drawing gum drawing board (hardboard or Masonite) charcoal stick or soft pencil
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WHAT LEARNERS WANT TO KNOW
ORIGINAL PHOTO REFERENCES
It is important to use your own source material for your paintings. When you use a photo taken by another person, that person has copyrights to the use of that image. Those rights belong to you when you take the photo. The photo and any art made from it can then be displayed in public venues. Here are some practical tips for using your phone camera every day to take a variety of photos for your personal photo reference library. While making art, look at the photograph through the phone or print the picture in color 8”x 10”.
SET THE FOCUS: Your camera will automatically choose a focus in the foreground, but you may want to focus on a different subject. Open the camera app and tap the screen where you want to sharpen the view. It will automatically adjust the focus and lighting to this location. Take the shot. USE NATURAL LIGHT: Use natural light for the best photographs for art references. Flash photos wash out the shadow, which is a very important aspect of painting a realistic image.
THINK COMPOSITION: Think about ideas like balance, finding rhythmic patterns, high or low viewpoints, and other compositional arrangements for more interesting photos. To get the wildflowers in the foreground of this picture, I lowered my viewpoint by getting closer to the ground.
EMBRACE NEGATIVE SPACE: Capturing areas around and between the subjects, the negative space, can really improve an image. An expanse of open sky, a wall, water, a field, or paved sidewalk can become negative space. Negative space makes the subject stand out.
APPROACH CAUTIOUSLY: When shooting wildlife, take a photo as soon as you see the animal. Take a step closer and take more photos. As you approach, the animal will move at some point, but with luck you will get many photos before that happens. Delete all but the best few photos. Never take risks and approach dangerous animals. Using zoom-in will make the photo grainy or pixelated, but you can often get enough information to make a good painting from a not-so-perfect photo.
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unit one Primary Colors
ART MATERIALS VIDEO LESSON 1: Wet-on-Dry Technique
You see traditional and modern primary colors and their uses in this video lesson, and learn techniques for using watercolor paint.
View Video #1 Wet-on-Dry Technique. Gather watercolor painting materials. Your painting will be unique as you apply the methods shown in the video to your own ideas.
Traditional Colors are rich and warm and suited to landscapes and natural objects. This color wheel is made with primary colors: Cadmium yellow, Cadmium red, and Ultramarine blue.
Modern Colors are bright and cool and suited to man-made objects or environments. See how the purple and greens are more vibrant than in the traditional color mixtures. In place of red is Quinacridone magenta. Phthalo blue and Aureolin yellow complete the primary group.
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CREATIVITY LESSON 2: Primary Colors, Wet-on-Dry Technique
You will paint with primary colors as you practice techniques addressing the transparency of the watercolor medium.
In painting media that cover well, like acrylic or oils, we work from dark to light. In watercolor, a transparent medium, we work from light to dark. The techniques in this book work with the quality of transparency that is a factor when using watercolor paints.
Paint the yellow area first, then the darker red is painted around the light area.
When darks are painted first and lights painted over, the light color is lost.
Collect samples of plant material such as leaves, grasses, petals, seedpods, or vegetable greens. Paint each as a shape. Break large shapes into smaller shapes. Practice producing even colors within each shape and work from light to dark.
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ART APPRECIATION LESSON 3: European Artist and History
You will see how an artist uses primary colors throughout the painting and create a study of this work in this lesson.
Pierre-Auguste Renoir, Luncheon of the Boating Party , 1880-1881
In Luncheon of the Boating Party, Renoir uses a primary color scheme of yellow, red, and blue. By repeating the primary colors in various locations within the painting, Renoir leads the viewer’s eyes from one figure to another so that the whole scene is noticed. Identify the location of the yellow hats in this painting. Do you see how the color yellow appears from one side to the other side of the painting? Locate the color red in the awning, the flowers, and the trim on people’s clothing. Where does the color red lead the eye? Where does the color blue appear? Renoir’s brushstrokes vary throughout the painting. The objects on the table are painted in thickly applied bright colors while in the background are the feathery light strokes seen in all of Renoir’s later works. Renoir labored for months on this painting, adjusting the figures and making changes directly on the canvas. Each person in his carefully composed scene is a friend or acquaintance of the artist.
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THE ARTIST Pierre-Auguste Renoir (1841–1919) French Impressionist Painter
WHERE IN THE WORLD? Ancient to Modern
To understand the story of art, we can look at the intent or purpose people had for making it. The ancient and classical art of Greece and Rome was made primarily for worship purposes, whether that be animals, gods, or emperors. Art of the medieval period, and those periods it influenced, had a story telling element and was made for the education of illiterate masses or for enhancing morals. A type of realism was introduced in the Renaissance, but the story element of the art was still of primary importance. In light of this long period of historical subjects and mythological themes, it is amazing that a new idea was born; that art be made as a response to nature alone. Painters took the realistic qualities of the past, which had developed as strict compositional rules since the time of the Renaissance, and applied them to an observation of nature alone. The landscape was unheard of as a subject standing on its own until the early 1800s with the invention of Realism. Inspired by the Realist’s habit of painting on site, Impressionists, in the 1850s took art into a completely new direction by changing the color palette from dark colors to bright and light colors as they viewed nature at different times and seasons. Compared to traditional paintings seen in the academies, Impressionist works seemed very strange. Loose brush strokes looked like the initial steps made at the beginning of a traditional approach to painting, but these were finished works of art in their own right. Public Parisian locations were full of people and Impressionists ditched the studio in order to paint outside. Post-Impressionists and the Expressionists that followed freed themselves from observation of color and form and gave artists permission to invent. This invention was purely in the hands of the individual artist and there we see a complete separation from observation of nature to non-objective art; art based on color or shapes with no connection to subject. Outside of this very brief overview, we see many variants to the story, such as artists who pursued nature study while abstraction was at its peak, but this foundation will give you an important outline in which to view the art of Europe within this course.
Renoir began his artistic career as a craftsman at the age of ten. For five years he painted landscape scenes and flower arrangements on porcelain in a Paris workshop. At that time he learned good craftsmanship, developed an eye for detail, and gained a thorough knowledge in the use of colors. He diligently studied the paintings of 18th century painters. Joining the studio of Gleyre at the Paris School of Fine Arts, he quickly became known as a revolutionary to the academic style. The 350 year-old school, having trained most of the great artists in Europe, was split in opinion as Courbet and Delacroix, of the previous generation, had already tainted the school’s strict ideals with new ideas. Interested in rich color effects, Auguste Renoir developed the Impressionistic style along with his friend, Claude Monet. Their experimental works used soft brush strokes while capturing scenes of modern Parisian life. Women Impressionist painters of the time, Berthe Morisot and Mary Cassatt, were required to paint women and children in the private spaces of homes to meet the social norms of their time. Renoir focused on family life by choice. Renoir painted his daughters at the piano and in the garden. When he did paint in social settings, like many Impressionists, he showed us what the audience looked like. The focus of his paintings was on the people attending a performance, rather than on the performers. Renoir also painted still life arrangements with flowers. Renoir most emulated the contemporary. The focus of his paintings were only those subjects that he saw in his time. In his opinion, historical themes and costumes were not worthy of representing. He lived a long life. In the later part of his career, suffering from arthritis, he had brushes tied to his crippled hands in order to continue painting. We can learn to see more as we make a copy of another artist’s work. Paint a simple study of Luncheon of the Boating Party or chose to paint a different painting that includes the primary colors. Within the painting identify or emphasize the primary colors: yellow, red, and blue.
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MASTER LESSON 4: Apply the Primary Colors to Art
You show what you know about Wet-On-Dry technique and working light to dark as you create an original work of art in this master lesson. Your painting will be unique as you apply the methods shown below to your own ideas. Select a photo or work from direct observation of an object that is a single color: red, or yellow, or blue. Work light to dark. (1) Draw an outline of the object in pencil on watercolor paper. (2) With a #10 round brush, mix the light color first, with a wash that uses little pigment and more water. Use a wet wash on dry paper. Allow one color to dry before placing another color beside it and before layering a color over it. Both the red wash and the black wash were applied with a single wash.
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Student Gallery Naomi Bapple, Laura Freeman, and Brenda Wright paint objects that are primary colors.
(3) Using more pigment and less water, brush over the light washes to add areas of stronger color. A strong wash of red is painted over the light red wash. A strong wash of black is painted over the light black wash. Once the darker wash is dry, paint the darkest areas and the fine detailed line work. This process uses the wet-on-dry technique and layers dark color over the dry light color by working light to dark.
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unit nine Tonal Range
ART MATERIALS VIDEO LESSON 1: Planning a Painting
In the video lesson, you see how this painting uses a broad tonal range and make your own acrylic painting from your picture library.
View Video #9 Planning a Painting. Gather watercolor materials. Your painting will be unique as you apply the methods shown in the video to your own ideas.
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CREATIVITY LESSON 2: Wide and Narrow Tonal Range
In the creativity lesson, you use a narrow or wide tonal range in an acrylic painting to evoke a mood. Tone is another word for “value,” usually used in relationship to color. Successful paintings have tonal contrast in them showing a tonal range.
Value describes the lightness or darkness of a color. The density of the watercolor paint will affect the value; the more pigment in the water/pigment mixture, the darker the value. Also, the color chosen will affect the value; yellow is lighter than most blues. You can choose to use a full range of values within your painting (a). A full tonal range includes white and black and the grays in-between. These strong contrasts in value evoke an expressive, confident mood. You can choose a narrow range of values (b). A narrow tonal range can be anywhere on the value scale, but it will always contain values that stretch 3 or 4 steps. A narrow range aims to evoke a quiet mood, or at the dark end, a dramatic mood.
Full tonal range (a)
Narrow tonal range (b)
Look at your past work in terms of tonal range. Some students naturally paint using a wide tonal range and some may use a narrow tonal range. Evaluate which range you naturally go to first. You should use a value scale to determine what you’ve done in previous paintings. In this assignment, choose the opposite of what you naturally do. If you primarily use a wide tonal range within your work, use a narrow range today. Choose a subject that you enjoy from your photo library. Use any special techniques that you’ve learned through this book.
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ART APPRECIATION LESSON 3: European Artist and History
In the art appreciation lesson, you see how an artist uses a wide tonal range in his works of art and integrate the idea into your own work of art.
Eugene Delacroix, Tiger c.1830
A European living in the 18th and 19th centuries had to travel to foreign nations to see an animal such as a tiger. The animal was exotic and Europeans loved to see these types of scenes in their art. This watercolor study was made in North Africa, where Delacroix completed over one hundred paintings. His technique was to use wet on dry paper for a light layer in the mountains. He then added a second layer over the top of the first. The foreground was covered in the same way, working from light brown to the darker umber (brown) on the left and greens on the right. Look at the tonal range within this painting. The orange of the tiger is a mid-range value, but the color helps it to stand out from the background. The white underside of the tiger and its black stripes complete the full tonal range. The relaxed position taken up by the tiger implies that it was painted on site. Contrast that position with the very aggressive stance of the tiger on the next page, in Tiger and Snake (1862), an oil painting. The tiger and snake face each other in a dramatic scene, composed in a way that solicits our emotions. This is more typical of the Romantic notion of portraying controversial or stressful scenes, whether it included animals or people. How has Delacroix used a wide tonal range in the painting, Tiger and Snake ?
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THE ARTIST Eugene Delacroix 1798-1863 French Romantic Painter
WHERE IN THE WORLD? Romantic Movement 1770s–1850s
The Romantic movement originated in Europe at the end of the 18th century. The art was characterized by an emphasis on emotion and drama, often tragedies rather than pleasant ideals. Emotions such as fear, terror, and awe were explored in the fine arts, music, and literature. In contrast to the rational ideas of the Enlightenment, Romantics favored heroic individuals and the ideas of the French Revolutionaries. Artists painted from their imagination, though by today’s standards the figures seem very realistic. They did not look to nature but invented their compositions. Music saw the introduction of impromptu. Literature could be sentimental, dark portrayals of isolation, or the supernatural, and included poets, essayists, and novelists. Victor Hugo wrote a haunting story of an invalid in The Hunchback of Notre-Dame. Alexandre Dumas wrote the historical adventures of chivalrous swordsmen in The Three Musketeers. High drama is the unifying characteristic of the Romantics.
Eugene Delacroix had a passion for exotic subjects. The Neoclassical style of Napoleon’s reign was a rigidly planned form of art that featured glorious events harkening back to the Roman Empire. Trained in this style, Delacroix quickly abandoned it to paint commentaries on the Greek tragedy of his own time, in their war for Independence against the Turks. Horrible war scenes of human tragedy led to a new style in art called, Romanticism. His paintings were filled with figures clothed in exotic costumes and set in emotionally stirring settings. Delacroix received many government commissions for murals and ceiling paintings. In 1832, when Delacroix was 34 years-old, he traveled to Spain and North Africa as part of a diplomatic mission. He produced paintings based on the colorful attire of the North African culture, their exotic and colorful architecture, and animals, such as tigers and horses. This subject, so different from the life seen on Paris streets, would be called Orientalism.
Paint a watercolor using a wide tonal range to give the painting a dramatic or expressive feeling. Include any subject you enjoy, but do not copy it as it appears in a photo or real life. Add imagination to the composition to create drama. Do that in the way you position the objects within the painting. Then, use color by adding highlights, darks, and the color values in-between to give more drama to the painting.
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MASTER LESSON 4: Apply a Plan Before You Paint
In the master lesson, work out a plan for your painting as shown in the video in Lesson One of this unit. Create a finished work of art from the plan.
Westward Ho! When dirt roads were the normal means of transportation, a traveler knew first hand why one stayed on the path of the ones who went before him. Straying off the path, would result in a wheel sinking into soft ground. While we can learn much from following the paths of others, there is reason to move in an unexplored direction occasionally. Roger Von Oech writes, “Creative thinking is not only constructive, it’s also destructive. Often, you have to break out of one pattern to discover another one (Von Oech 70).” Today, choose an approach that has been taught, but that you rarely use to create a painting. Handle watercolors in a new way, make new types of marks, or modify how you make them to break free from painting in the same way each time.
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You can see the very familiar steps that we’ve taken for most of the demonstrations in this book.
Find a photo reference. (1) Draw the outline on paper. (2) Add the first layers of color in shapes using wet-on-dry technique. (3) Fill in the second layers with washes in darker colors. (4) Add the final details in the foreground and throughout the picture.
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A new approach would be to use lines, dabs, or dots directly onto the paper. New approaches lead to new discoveries. A different plan results in a different look. (5) While looking at the photo reference, paint directly onto watercolor paper with lines and dashes in the colors and values that you see. (6) Continue to work throughout the painting by making small mixes. (7) Add more color. Leave white space within the painting. Choose a plan for your painting. It may be similar to one of the two plans shown here. You can also come up with an approach that is original. Write the plan on paper in steps. Then, create your painting.
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EVALUATION SHEET
Measuring a Learner’s Proficiency on Well-Defined Course Objectives
Calculate a grade for each lesson assignment to measure the learner’s proficiency on well-defined objectives (listed on the following pages). Art has subjective qualities that make it unique in how a student’s success should be measured. There are seldom right or wrong answers, and we do not recommend using a letter grade system for students in 4th and 5th grade. Instead, we provide a system using objectives. These objectives are listed on the following pages. To use them, look at the learner’s artwork and read the objective for that lesson. By following the objectives carefully, teachers and students will avoid common mistakes that are made when evaluating art. Let us paint a picture of an unhelpful evaluation of artwork so that you have an idea of what to avoid. Do not judge student artwork on arbitrary issues such as natural talent, skill level, feelings, and like or dislike of the subject matter chosen by the learner. Be aware that we should not expect a learner to be at a certain skill-level because of age or grade level. Do not demand results that can only be obtained by repeated experience that the learner has not yet had. It is very likely that an individual, who is creatively applying the elements as they are taught, will easily meet every objective even if the work looks similar to what we expect from a beginner. Completing the objective does not mean that the learner has arrived at a full knowledge and use of artistic concepts. A full knowledge comes with repeated use of the concepts and practice. Completing objectives means that the learner is doing well in the pursuit of comprehensive knowledge. If you do not see how the learner accomplished the objectives listed, ask the learner to point it out in the picture. Sometimes they understand very well and will be able to tell you how they accomplished the objectives in the drawing. This is valid! Keep in mind that a teacher who is allowing the learner to work independently through the book and video content may be unaware of the variety of ways in which an element or principle might be used. Our objectives are statements that describe what the learner is expected to achieve as a result of the instruction and demonstrations provided in the lessons. They can be used in two ways, either by a teacher or the learner. A teacher will use them with the goal of assessing student success and progress. By achieving the objectives, we can consider the learner competent in their understanding of the material. When objectives are used by the learner, they are a guide to focus and to help the learner set priorities for their artwork. Whichever way they are used, we do encourage you to use them for each lesson to ensure that you measure success in realistic and valuable ways.
OBTAINING A LETTER AND NUMBER GRADE
A (90-100) Learner has achieved proficient work on all stated objectives for the lesson and shows advanced work. Advanced work can be defined by efforts that include and go beyond the stated objective. Examples: by applying knowledge gained from previous units, showing good craftsmanship (neatness), or other advanced skills such as a creative interpretation of the stated assignment, experimentation, or a synthesis of several art concepts (elements or principles.)
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B (89-80) Learner has achieved proficient work on all stated course objectives for the lesson.
C (79-70) Learner has achieved proficient work on some of the stated course objectives for the lesson, but has not met all the objectives. The learner may have finished a work, but clearly missed the point of the assignment as stated in the objective.
D (69 -60) Learner has not achieved any of the objectives in the finished work.
F (59-0) Work is incomplete or missing.
OBJECTIVES
Objectives are statements that describe what the learner is expected to achieve as a result of the instruction and demonstrations provided in the lessons. Objectives can be used in two ways. Objectives are used by the teacher for assessment. By achieving the objective we can consider the learner competent. Objectives are useful for the learner. They convey instructional intent while used to guide, to focus, and to help the learner set priorities for his or her artwork. Unit 1: Lesson 1: The student will be introduced to the variations of a traditional and modern paint palette and demonstrate the use of the wet-on-dry technique throughout their own painting, with a focus on filling in shapes of solid color. Unit 1: Lesson 2: The student will gather a variety of leaves or green vegetables and paint the shapes, producing even colors by mixing pigment and water in the palette, using the wet-on-dry technique as they work from light to dark. Unit 1: Lesson 3: The student will make a simple study or representation of Renoir’s Luncheon of the Boating Party and emphasize the flow of each primary color within the painting. These patterns may vary from student to student. We each can view the painting in different ways. Unit 1: Lesson 4: The student will select a reference that is a single color from the primary color choices of red, yellow, or blue and practice working light to dark as they lay light color first and layer with darker color using the wet-on-dry technique. . Unit 2: Lesson 1: The student will a make a full-color painting the shows two processes for applying color to the picture. Wet-on-dry technique will be used to lay an even surface within shapes to create hard edges, while other areas will display the use of wet-in-wet to obtain a variated color that blends to make soft edges. Unit 2: Lesson 2: The student will draw a color wheel with twelve sections and fill in the primary, secondary, and tertiary color mixes using the wet-on-dry technique and then identify the paint names used to make the color mixes for future reference.
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Unit 2: Lesson 3: The student will make a watercolor painting with object, foreground, and background, and paint it using emphasis or using unity within the painting. The student can state how emphasis or unity was used within their painting.
Unit 2: Lesson 4: The student will paint a landscape, cityscape, or seascape with a secondary or tertiary color scheme using their own reference from photo or direct observation.
Unit 3: Lesson 1: The student will use the wet-in-wet technique to make an even wash and may use the lift technique to lighten the wash in specific areas.
Unit 3: Lesson 2: The student will view a simple object from direct observation and paint it and the background using an analogous color scheme. Light and shade will be painted within the color scheme chosen.
Unit 3: Lesson 3: The student will paint a landscape with a focus on a topic such as people, boats, animals, etc. and use one analogous color group as the major focus of the painting.
Unit 3: Lesson 4: The student will select and demonstrate their knowledge of warm and cool colors using an analogous color group within their painting that is either on the warm side of the color wheel or on the cool side of the color wheel.
Unit 4: Lesson 1: The student will show a variety of marks or washes within the painting to demonstrate the use of various brush types.
Unit 4: Lesson 2: The student will select a few small objects that are complementary colors, then, in the background mix the two colors to make a neutral from the complementary colors of the objects.
Unit 4: Lesson 3: The student will paint an object from direct observation in a way that shows dabs or lines of color similar to Cezanne’s technique.
Unit 4: Lesson 4: The student will choose an animal of neutral color and make a painting with a variety of neutrals, some leaning towards yellow, some towards red, and some towards blue.
Unit 5: Lesson 1: The student will paint a figure and simplify the background showing an example of overlapping washes technique.
Unit 5: Lesson 2: The student will demonstrate their knowledge of brushes; mop brush to make a wash; flat brush for square edges or scumbling trees or background; round brush for both, filling in color and fine detailed line work.
Unit 5: Lesson 3: As the student works from direct observation, they will show their understanding of tinting by lifting pigment from a wash to feature highlights.
Unit 5: Lesson 4: The student will paint a portrait and show their knowledge of mixing skin tones.
Unit 6: Lesson 1: The student will demonstrate reserving whites with drawing gum on a graded wash.
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Unit 6: Lesson 2: The student will demonstrate shading colors as they work from direct observation to create a painting of three similar objects that show rhythm.
Unit 6: Lesson 3: The student will paint an object and its shadow, paying close attention to the colors in the shadow. Colors may be exaggerated for effect.
Unit 6: Lesson 4: The student will paint a white object and show the variety of colors on the shaded side of the white object.
Unit 7: Lesson 1: The student will observe how to use a variety of materials to make special effects within the painting and apply that to their own original painting.
Unit 7: Lesson 2: The student will observe how to use a variety of materials to make special effects within the painting and apply that to their own original painting.
Unit 7: Lesson 3 The student will create an original and creative painting by breaking large shapes into smaller shapes to create a pattern-like effect.
Unit 7: Lesson 4: The student will show understanding of patterns to create rhythm.
Unit 8: Lesson 1: The student will create a landscape showing interesting composition and washes used with drawing gum.
Unit 8: Lesson 2: The student will paint a few objects up close in one of the complementary pairs.
Unit 8: Lesson 3: The student will look for and discover the use of complementary pairs in the real world. The student will then create a painting showing a complementary pair.
Unit 8: Lesson 4: The student will display their knowledge of color theory by drawing a figure in an activity and applying one of the color theories presented in this book.
Unit 9: Lesson 1: The student will make a painting with a plan in place before starting. The student should write down the steps in their approach to the painting, as in: 1. Draw an image on tracing paper; transfer to watercolor paper. 2. Map out areas to reserve white and apply drawing gum. Let dry. 3. Apply a graded wash to the top of the painting, etc.
Unit 9: Lesson 2: The student will try a wide tonal range in the picture once they have evaluated that they normally use a narrow range, and vise-versa.
Unit 9: Lesson 3: The student will paint the subject in a wide tonal range from white to very dark and use imagination to tell a narrative to add emotion or drama.
Unit 9: Lesson 4: The student will make a plan that is different from their most common approach to making a painting and follow through with that plan. Two possible plans are demonstrated on pages 58 and 59. ol colored objects.
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